Wings Over Dundee

 

Dundee Rep and Scottish Dance Theatre will spread their wings from 7 September as they announce a re-opening date and an exciting new season of theatre and dance both live in-theatre at The Rep and a continuation of Rep Studios filmed content available on-demand online. 

Tickets available to book now  

Dundee Rep and Scottish Dance Theatre are thrilled to confirm that after 18 months they will once again open their doors to audiences on 7 September with the World Premiere of Wings Around Dundee by playwright John McCann, a highlight of a newly announced autumn season of live and digital shows focused on celebrating the community spirit and giving thanks to the people of Dundee and wider Scotland who have engaged with and supported Dundee Rep and Scottish Dance Theatre during this challenging time.

The season also includes a long-awaited return of such critically acclaimed shows as Antigone, Interrupted which will see Scottish Dance Theatre touring for the first time since the beginning of the pandemic, and TuTuMucky, a smash hit from Botis Seva blending hip hop, ballet and contemporary dance. The National Theatre of Scotland will return once again with the World Premiere of The Enemy opening at The Rep and the season will climax with a new musical adaptation of A Christmas Carol - created in collaboration with Noisemaker - to spread the holiday cheer around Dundee and an ambitious Community Engagement programme including Sinder / Every Map Has A Scale and a world-class dance and theatre offer for people of all ages.

Both companies have carried out careful and detailed planning in preparation for the re-opening to ensure their operations follow the Covid-19 Scottish Government guidance with the safety of audiences, artists and staff being the top priority.

Dundee Rep’s Artistic Director Andrew Panton said: “What an amazing feeling to be welcoming audiences back into the Rep after such a long period. Our autumn season celebrates the work of our two ensembles with world premieres and new films capturing their collaborations over the past months in our communities. We also continue working with the most exciting freelance theatre, dance and music artists who have consistently innovated whilst our theatre has been closed. I’m thrilled that Rep Studios will continue alongside our in person work, so that anyone anywhere can continue to have access to the work of Dundee Rep and Scottish Dance Theatre.”

Scottish Dance Theatre Artistic Director Joan Clevillé said: “Our autumn season reflects the wide range of dance experiences that Scottish Dance Theatre can offer, and our commitment as a resource for the development of artistic and civic communities. I am thrilled by the prospect of safely welcoming audiences back into theatre spaces, but I am equally excited by continuing our artistic journey into the digital medium, which has allowed us to connect with audiences all over the world.”

Macbeth Dramaturgy: Mark Bruce @ Wilton's Music Hall

MARK BRUCE COMPANY
Winner of the 2014 South Bank Sky Arts Award for Best Dance Production (Dracula)

Presents

A striking dance/theatre re-imagining of Shakespeare’s tragic tale of power, corruption, murder

UK tour: January 25^th-May 12^th

including 3 weeks at Wilton’s Music Hall

The multi-award-winning MARK BRUCE COMPANY will tour their haunting new dance/theatre re-imagining of Shakespeare’s ‘Macbeth’ in 2018. 

With direction and choreography by visionary artistic

director Mark Bruce, a cast of nine outstanding performers and dramatic design by the same creative team behind Dracula and The Odyssey, Mark Bruce Company’s ‘Macbeth’ will realise a beautifully harrowing vision of an internal wasteland formed from the pursuit of power through ruthless means. 
Drama, dance and film audiences will be drawn to Bruce's imaginative vision of the treacherous Macbeths' (Jonathan Goddard, Eleanor Duval left, photo by Nicole Guarino) toxic world of jealousy, ambition and corruption. Set in a supernatural and brutal underworld, both tragic and beautiful, with a horror film atmosphere of menace and murder ... all of this will be packed into Bruce's new production.

What was the inspiration for this performance?

Everything in the play - how it confronts us with the demons inherent in our nature. Its tragic beauty, symbolism, the supernatural ‘in-between’ world it evokes and sets its story in.

How did you become interested in making performance?

It just happened, I don’t remember a catalyst or a moment, it just bled out of creativity and ways of communication

Is there any particular approach to the making of the show?

I use an amalgamation of approaches - possibly hybrid - I started a company so I could build work with no rules or dividing lines between mediums and approaches.

Does the show fit with your usual productions?

Every show is a progression and a tangent.

What do you hope that the audience will experience?

It should creep inside them and shift things around.

‘MACBETH’ tour dates:

January 25^th-27^th           Frome, Merlin Theatre         www.merlintheatre.co.uk
Jan 31^st-Feb 1^st                     Winchester, Theatre Royal     www.theatreroyalwinchester.co.uk
February 8^th, 9^th            Birmingham, DanceXchange        www.dancexchange.org.uk
February 23rd to March 17^th      London, Wilton’s Music Hall    www.wiltons.org.uk
March 23^rd 24^th             Ipswich, Dance East            www.danceeast.co.uk
April 17^th, 18^th                      Blackpool, The Grand         www.blackpoolgrand.co.uk
May 1^st, 2^nd                   Exeter, Northcott Theatre        www.exeternorthcott.co.uk

May 10^th-12^th                Salisbury Playhouse            www.salisburyplayhouse.com
May 17^th 18^th                Milton Keynes, Stantonbury Theatre www.stantonburytheatre.co.uk
Publicity:                      judy.lipsey@premiercomms.com

Performers:  Eleanor Duval, Jonathan Goddard, Jordi Calpe-Serrats, Christopher Thomas, Daisy West, Dominic Rocca, Hannah McGlashon, Steven Berkeley-White, Carina Howard.

Choreographer/director:           Mark Bruce
Set design:    

Philip Eddolls
Lighting design:                         Guy Hoare
Costume design:                 Dorothée Brodrück

Artistic Director Mark Bruce: 
“Macbeth hits you fast, cuts through to the bone, and for me it is the least ambiguous of Shakespeare's plays. Its darkness opens our nightmares; we recognise fundamental traits inside ourselves and the consequences of acting upon them. The vicious pursuit of power to fill a void will always be relevant - the Macbeths are everywhere in every age, because they are a part of us.

“I first read Macbeth as a teenager and returning to it now the images, atmosphere it evokes have not changed. Its power lies in a relentless tale of supernatural horror told with a beauty and symbolism that reaches to the tragic state of the ‘other’.   The supernatural is always present in Macbeth, bending our own thoughts and perceptions as well as those of the protagonists. It infects us, always one step ahead, and Macbeth’s decisions are made in the world of a nightmare as if there is no separation between thought and action. Murder is done and descent is rapid.

“The Macbeths are mere playthings of the evil they set free, and in the madness and emptiness that ensues they become but walking shadows, or, as in my adaptation, simply clowns of sound and fury.”

Mark Bruce Company has built up a formidable reputation for uncompromising dance-theatre work.  Early MBC productions include Moonlight Drive (1991), Lovesick (1995), Helen, Angel (1996), Horse (1998), Dive (1999) and At Louse Point (1997) with Polly Jean Harvey and John Parish. Mark Bruce has made work for other companies including Fever to Tell (2005) and The Sky or a Bird (2008) for Probe, Stars for Dance South West, Green Apples for the ROH’s Clore Studio Summer Collection, Bad History for the Place Prize 2006, Crimes of Passion (2010) and Medea (2011) for Bern Ballet.  MBC’s more recent productions include Sea of Bones (2007), Love and War (2010) which opened at the Bristol Tobacco Factory, Made In Heaven (2012), the award-winning Dracula (2013, 2014), and The Odyssey (2016). 

In 2014 Dracula scooped four major awards:

South Bank Sky Arts Award for Best Dance Production

        Critics’ Circle Award Dance Section for Best Independent Company

        Dancing Times Award for Best Male Dancer (Modern) – Jonathan Goddard for ‘Dracula’

        Dancing Times Award for Best Male Dance – Jonathan Goddard for Mark Bruce Company

Mark co-devised Skellig (2008), an opera based on the book by David Almond, for the Sage Gateshead; the Royal Exchange Theatre’s productions of The Bacchae, Antigone, The Glass Menagerie, The Revenger’s Tragedy, Antony & Cleopatra, Peer Gynt, As You Like It, Fast Food, Still Time and The Way of the World. He directed Rick Bland’s award-winning Thick which toured the UK, US and Canada and in 2015 worked with Singapore Repertory Theatre on their production of The Tempest.  Mark has also worked in a variety of new media, screen and interactive stage productions with Ruth Gibson & Bruno Martelli of Igloo. He has written music for his own work and for art installations and is published by Mute Song. His book of short stories, Blackout Zones was released in May 2010. Mark is currently completing his book on Choreography and Making Dance Theatre.

Dramaturgy of La Même: Farah Saleh @ Edfringe 2017

New Arab contemporary dance performances 

Studio 3, Dance Base, 18 - 20 August 2017 | 15:00 (16:30)

Algerian born choreographer Nedjma Haj Benchelabi curates a weekend of new contemporary dance performance by three young up and coming Arab choreographers Mounir Saaed, Farah Saleh and Kouloud Yassine.

What’s the inspiration behind your performance?

The performance attempts to discuss the tension between the reality of a veiled woman and the image that she’s perceived in both in the west and in globalized societies in the Arab world. It tries to overview what’s behind the veil through dancing that looks for ways to illustrate the problems that veiled women face as well as how they try to make their dreams a reality. It attempts to tackle the problems of these women in an approach that remains personable. That’s why it’s called “La Même” (My Self).

The entire show isn’t built on simplifying issues through generalizing. After all, we’re all different as women whether we’re veiled or not.  It’s just a way to illustrate that we all have different opinions, dreams, and struggles that we negotiate on a daily basis. The image of a veiled woman is always that of someone who’s obedient and subordinate to men and generally has a lot of limitations placed on her in what she can do. The show tries to move past that. 

How did the performance come about?

It came in the wake of the Paris and Brussels attacks in 2015. At the time, there was an onslaught of attacks on the veiled woman in the west and heavy debate on her status in the Arab world. We wanted to have a conversation as we felt that there were attacks that happened in our globalized society without many people actually understanding much about veiled women or what leads them to become veiled in the first place. We’re not with or against anything, but we wanted to increase the understanding to attempt to stimulate conversations in increasingly close-minded societies. 

What steps do you take to attempt to challenge the audience’s preexisting notions?

In the performance, we pose a question to the audience about whether a woman is really the same whether she’s veiled or not by providing it with a 20 minute experience that’s split into two nearly identical shows that only differ in what the characters are wearing. One of them shows a woman gradually becoming veiled, while the other has her slowly taking it off. The gradual process really allows us to play around with conflicting notions that allow the audience to see beauty and ugliness at the same time. 

It’s not black and white; with every woman, there are certain conflicts and certain things that are easy or hard. That’s the springboard that we use to discuss the self. We never really get into whether we’re with or against the veil because that’s not really what our show is about.

Do you feel that the performance has a universal audience?

We’ve performed the show four or five times up to this point, with only one of those coming in the Arab world. We’ve played it in France, Palestine, and Switzerland. We feel that it was beautifully understood in all three locations. We successfully reached our goal of opening up a dialogue in all of them. 

What would you say is the show’s main message?

The message is that we should look beyond the veil to get people to understand more on the matter. We use the concept of the self to analyse the personality of women with or without the veil. 

What do you enjoy the most about contemporary dancing? 

What I love the most is that it allows me to tackle and open up dialogues on contemporary issues through my body’s movements. This is not something that I’m able to find in more classical forms. The body is completely free in contemporary dancing to an extent that you could talk about daily issues with any flick of your body.  

Maykomsh Dramaturgy: Shaymaa Shoukry @ Edfringe 2017

Dance Double Bill

Demonstration Room, Summerhall, 4 - 27 August 2017 (not 7, 14 or 21) | 13:35 (14:20) 

The showcase presents, at Summerhall, a double bill of new contemporary dance from Palestine and Egypt focusing on identity, homeland, body politics and societal pressures questioning what it means to be Arab today.

Maykomsh

What made you fall in love with dancing?

I’ve been dancing since I was nine. I used to go to ballet classes when I was a kid and I guess it gradually hooked me. I fell in love. I soon started chasing other forms of dancing as well. During my university years, I performed more heavily and participated in theater acts and talent shows. I started taking professional dancing classes around that time. I did a three year program side by side with my university studies, usually going in the afternoon and fitting in performances whenever I could. 

After I finished college, I studied under Karima Mansour, who was doing a workshop program with Studio Emad Eddin for over a year. Then, I worked in El Warsha with Hassan Il Gereitly for a while as well.

How was your transition from something as classic as ballet to the contemporary?

Well it was definitely very gradual, so I didn’t really feel it all that much to be honest. My workshop experience after leaving El Warsha was really very experimental, which truly gave me the push that I needed to start doing my own work. But again, it was all a gradual process. 

There’s really no dividing line or a particular moment in my opinion when I transitioned from one form to the next. It’s always been more free flowing and organic than that for me. Every experience that I’ve gone through has had something that was positive and pushed me forward. 

How do you think your performance as part of the Arab Arts Focus in this year’s Edinburgh Festival Fringe is going to be like?

Being part of such a traditional and illustrious festival that has countless performances and viewers is overwhelming to be honest. Thus, I really don’t have any expectations at this point; I just hope that I have enough energy and health to keep up with the intensity. There are so many things to see and do. 

I usually like to find a way to attend everything at every festival that I go to. With so little time available, that spectator stress will compound the creative toll of me participating. That will primarily revolve around my hope of getting good feedback and developing more exposure. 

Is there any particular approach that you always take for the making of the show?

Well I first introduced this performance as part of the 2015 edition of Downtown Contemporary Arts Festival (D-CAF). I’ve played it in a couple of other major places since then. It’s a big act that I’ve already performed internationally. 

The beauty of it is that I always need to readapt it based on the stage that I’m performing it in. I always question the work rather than copy-pasting it. I try to continuously make it feel alive. 

What do you hope the audience’s experience will be like?

I really don’t know (laughs). I’m working on specific things to enhance the audience’s reaction, but what everyone feels while watching the performance is something that only they could control. 

I don’t really think that much about it, because I prefer for it to be personalized, rather than it being uniform for everyone. It’s not a matter of leaving it abstract as much as it is a wholly personal experience for everyone. 

What’s the inspiration for your performance?

The topic that I’m working on is judgment. We’re really revealing different aspects of the same person. I’m an African, an Egyptian, a contemporary dancer, a woman, and someone who loves hip hop for example. These are just some layers of my identity. 

We play around with the different aspects of the personality, making them appear and disappear just like they do in our lives. The idea is to showcase the depth of every one of us beyond what we see at first. That’s conceptually the entire idea behind the performance. 

The performer does different dances as if she’s delving into a different side of her personality with every style that she delves into. 

The setup helps out a lot as well in that it allows every audience member to see different sides of the dancer’s personality, rather than all of them. I hope that people view it as a journey that allows them to truly see that there’s more to people than what meets the eye. Dancing is really the best tool to express that. 

How does the show fit with your usual productions?

Every performance is different yet the same. All the work is connected, but each project feels distinctly special and with a different edge. 

Dramaturgy and Friends: Caroline Bowditch @ Edfringe 2017

Caroline Bowditch & Company presents

Snigel & Friends

4 – 27 Aug

Dance Base (Venue 22) 14–16 Grassmarket

The inquisitive snail is going on an adventure. Join Snigel and friends as they dance and play, in the undergrowth uncovering secret treasures. Acclaimed dancer and choreographer Caroline Bowditch presents her first work for children, Snigel and Friends.

A collaboration with Designer Laura Hook, Snigel and Friends invites children aged 0-1 and their adults into Snigel the snail’s cosy home underneath the leafy canopy; a colourful and sensory world where Snigel’s insect friends come to visit.

What was the inspiration for this performance?

For the last few years I have become aware of the demand for interesting work for young audiences. I also realised that very little, if any, work being made for young audiences includes visibly disabled performers. I have made this piece to start to address this issue.

I had had an idea about transforming myself into a massive snail and my motorised wheelchair being covered in a snail shell that could move through crowds at festivals and events. The idea of being a snail had emerged from the fact that in my chair I glide, I don’t have a footfall so it seemed like a natural connection.

I proposed this idea to my Co-collaborator and designer, Laura Hook, and she was up for the challenge. We went on join up with musician Zac Scott to create ‘The Adventures of Snigel’ which was recently previewed at the opening weekend of the Edinburgh International Children’s Festival.

Recognising that a more static piece was also needed, I started to ask children in my life what they thought snails did inside their shells. This was the original title for ‘Snigel and Friends’.

Snigel and Friends is a piece for under 1 year olds and invites audience members to join us in a magical undergrowth were we play, sing songs and do dances. It’s colourful and interactive show that has been well received by the audiences that experienced it’s premiere at Tramway’s recent Family Day.

Is performance still a good space for the public discussion of ideas?

I think it’s a brilliant platform to begin to have potentially difficult or uncomfortable conversations. To inform, to raise and brooch issues. I think, as an artist, I’m always amazed at the emotional impact performance can have on audience members, even ones that weren’t intended.

How did you become interested in making performance?

I think I’ve always been a bit of a show-off. But actually living with a very visible disability, as a wheelchair user, I’ve always been looked/stared at. I think often performing is a way for disabled people to be in control of what people see.

Performance is also an incredible platform to get a message across to an audience and, potentially change perceptions and thinking.

Is there any particular approach to the making of the show?

We played a lot!!

We did a lot of playing with the type of toys that under 2’s play with. We watched lots of nature videos of the creatures in the show to really watch how they move and then applied this learning to our movement.

We shared the songs that we remembered from our childhood and then made our own songs.

Does the show fit with your usual productions?

This is the first time that I have ever made work specifically for a young audience so a lot of it was really new.

I’ve work with several new collaborators on this project, including Laura Hook who created a beautiful design for the show, and several artists that I’ve worked with before, like Welly O’Brien who also performed in Falling in Love with Frida.

What do you hope that the audience will experience?

A welcoming and cozy space where beautiful and magical things happen.

What strategies did you consider towards shaping this audience experience?

One of the most important elements of our making process was the input from the members of our ‘baby board’ – a group of parents and babies from our target audience. The ‘Baby Board’ came into rehearsals weekly which provided us with the opportunity to share with them what we’d been working on and watch how their wee ones responded.

It was the baby board who were instrumental in helping us determine the age group for the piece.

Using dance, song and live music by Zac Scott, and featuring dancers Welly O’Brien, Alex McCabe and Caroline, Snigel has adventures with the help of their insect friends, whilst playing games and uncovering secret treasures. This will be the third year that Caroline has presented work at Dance Base for the Fringe following the award-winning Falling in Love with Frida in 2014 and 2015.

It will also be Caroline’s second year in the prestigious Made in Scotland Showcase, a curated programme promoting high quality dance, theatre and music produced in Scotland. Snigel and Friends and the accompanying promenade work for under 5’s, The Adventures of Snigel which will tour in Summer / Autumn 2017, will be Caroline’s final work made in the UK as she prepares for her own adventure back to her native Australia where she will be based from the end of this year.

“Scotland has been such a rich and nurturing environment for me to develop and grow as an artist. I’m proud of the work that I have created here and will continue to promote Scotland as one of the best places to be an artist, wherever I am in the world. Although my base will shift back to Australia in December many connections will remain here.”

Purposefully making these new works to increase awareness of different bodytypes to young children, Snigel and Friends is a rare example of work for children made and performed by a mixture of disabled and non-disabled artists. www.carolinebowditch.com

Created by Caroline Bowditch and Laura Hook

Choreography by Caroline Bowditch in collaboration with the dancers

Designer: Laura HookCostume Design: Jenny Lööf

Original Music and live musician: Zac Scott

Stage Manager: Freya Gosnold

The cast includes: Caroline Bowditch, Welly O’Brien, Alex McCabe with musician Zac Scott. Please note that castings may vary throughout the Fringe run.

Snigel and Friends is part of the Made in Scotland Showcase 2017.

About Dance Base:

Dance Base is Scotland’s National Centre for Dance, situated in Edinburgh, and encourages and celebrates the potential for dance in everyone. Providing classes and workshops for the community, masterclasses and residencies for professional dancers, and an extensive programme of outreach work, Dance Base reaches out to inspire wellbeing and creativity, and cultivates a future for dance in local, national and international communities. Dance Base is a Regularly Funded Organisation (RFO).

Dance Base’s festival programme is curated by Artistic Director, Morag Deyes, MBE.

Dance Base’s Festival 2017 programme has 21 shows from 12 countries including Scotland, England, Ireland, Northern Ireland, Argentina, Canada, Egypt, India, Lebanon, Palestine, South Korea and Taiwan.

During the Festival, Dance Base supports performers and visiting companies in Edinburgh with a special programme of classes and workshops.

It offers a high-class venue for professionals to rehearse, a space for their practice and low-cost studio hire.

Throughout the year, the £7m dance facility is visited over 50,000 times, for 130+ different classes and workshops. Alongside this, Dance Base’s professional programme exists to support and nurture professional dancers and their work at all levels through classes, workshops, and a programme of residencies.

Dance Base was recently accepted as a member of the European Dancehouse Network (EDN). With its acceptance as a full member of EDN, Dance Base is making history for dance in Scotland as it is the first Scottish dance house to be accepted to the network; opening opportunities for Scottish dance artists.

Skin Dramaturgy: Andrea Walker @ Edfringe 2017

As part of the Edinburgh Festival Fringe 2017, 

201 Dance Company presents

SKIN

This is not my body. This is not my body. This is not my body.

After a sell-out international tour of their production 'Smother', 201’s contemporary hip-hop style returns with SKIN: an intimate journey of self-discovery performed from Wednesday 2 - Monday 28 August, Pleasance Courtyard – Beyond at 8pm.

This dance/theatre piece explores one boy’s journey through gender transition. Blending urban and contemporary styles and original music, award winning choreographer Andrea Walker directs a cast of 7 dancers in a fast paced, emotionally driven story of identity and belonging.

 

What was the inspiration for this performance?

“Skin” tells a boy’s intimate journey of gender transition to find a body that feels like home, all through the medium of hip-hop and contemporary dance. Kit Redstone and Cairo Nevitt’s personal stories hugely inspired me. Both are collaborators on the show. My own battle with anxiety was also a big inspiration in creating “Skin” and its central character. 

Is performance still a good space for the public discussion of ideas? 

I think it’s the best place! I truly believe the stage is such a powerful tool that can awake thoughts and opinions you didn’t even know you had. 

How did you become interested in making performance?

Dancing has always been a huge passion of mine, but I never felt I quite fit within the hip-hop dance world, and likewise I didn’t feel I belonged to the contemporary world either. So I thought I’d start my own dance company, where I get to move the way I move and take elements from the dance styles I love the most to create an aesthetic unique to 201.

Is there any particular approach to the making of the show?

I am very inspired by my dancers: sometimes we’ll get into rehearsals and I’ll teach a section that is very choreography heavy. Other times we’ll roll around the floor until I see something that inspires me. Narrative will always be key to my work: I want the audience to almost forget they’re watching dance and seamlessly follow the story that’s taking place. We do a lot of work to ensure the storyline is clear without using a single word.

Does the show fit with your usual productions?

Most definitely! 201 Dance Company has built a reputation for using urban dance to tell stories that matter, especially within the LGBT community. With “Skin” we very much wanted to keep this alive.

What do you hope that the audience will experience?

“Skin” follows a very emotional story, one that anyone who’s ever experienced anxiety or the feeling of not fitting in will be able to relate to. Expect to be moved, surprised, but also entertained by some full-out urban choreography.

201 Dance Company has created a buzz with their vibrant dance-theatre that crosses genres. They are driven to confront issues and challenge social prejudices. The company has performed to much acclaim in New York at the Manhattan Movement Center and New York Symphony Space, had 2 consecutive sell-out years at Edinburgh Festival Fringe, and won an outstanding award for choreography developed at The Broadway Dance Center. 

Their sell-out show ‘Smother’ is currently touring the UK.. In August 2015 choreographer Andrea Walker was nominated for an Inspire: Change Maker Award by London Dance.

ANDREA WALKER – DIRECTOR / CHOREOGRAPHER Andrea Walker is the founder and artistic director of 201 Dance Company. London based, he began dancing aged 14 in Rome, Italy, and continued his study and exploration of dance at The Metropolitan Arts Institute in Phoenix, Arizona (USA), and at The Broadway Dance Center in New York City, from which he graduated with a Certificate of Excellence and winning the Outstanding Award for Concept Choreography. 

Most recently, he choreographed and danced Ebony Bones’ tour, and opened Lady Gaga's Born This Way Foundation Show in Miami with the band. Other credits include Coldplay, Aggro Santos, Kimberly Walsh (Girls Aloud), Impact Dance (Peackock Theatre), Xbox, T-Mobile, Martini and D&G.

PATRICK COLLIER – PRODUCER Patrick is a London based theatre producer. Other recent work includes Graeae Theatre’s “Re:Imagine India” Project (part of the UK/India year of culture), Theatre Temoin’s ‘The Marked’ (Pleasance King Dome 2016), Access All Areas’ ‘The Misfit Analysis’ (VAULT Festival 2016, Pleasance and touring 2015), Sparkle and Dark’s ‘I Am Beast’ (Pleasance 2015), Fourth Monkey Ensemble’s ‘Elephant Man’ (touring 2014-15), Sparkle and Dark’s ‘Killing Roger’ (touring 2014), Theatre Témoin’s ‘The Fantasist’ (London, Edinburgh and touring 2011-2013), Access All Areas’ ‘Eye Queue Hear’ (touring 2013-15), Theatre Témoin’s ‘Nineveh’ (Riverside Studios London 2013), Theatre Re’s ‘The Little Soldiers’ (Pleasance Queen Dome 2013), Metta Theatre’s ‘Monkey & Crocodile’ (Touring 2013), ‘The Rub’ for the New York's Tremor Theatre Collective (New Orleans 2012), and Iris Theatre’s ‘As You Like It’ (Covent Garden Open Air Theatre 2012). Patrick trained at Trinity College Dublin and is a recipient of the Natwest Young Producer’s bursary.

LISTINGS INFORMATION: SKIN will be performed from Wednesday 2^nd- Monday 28 August, 8pm, Pleasance Courtyard - Beyond, Tickets £7 - £12